Corbin Bernsen on Stepping Up to the Plate in ‘Major League’

Major League Corbin Bernsen

WRITER’S NOTE: This article was originally written back in 2012.

Corbin Bernsen’s role as Cleveland Indians third baseman Roger Dorn in “Major League” marked a big breakthrough for the actor who at that point was best known for playing divorce lawyer Arnie Becker on “L.A. Law.” The actor was one of the guests who attended a reunion screening of “Major League” at the Aero Theatre in Santa Monica which brought out fans who were excited to see it on the big screen.

“Major League’s” writer and director David S. Ward talked said he only casted people who could play baseball, and he talked about how Bernsen had been a ballplayer for a long time. Bernsen played with the Hollywood Stars baseball league, and he also played in many MTV celebrity “Rock N’ Jock” softball games as well.

The movie was shot in Milwaukee, Wisconsin, and one day had the filmmakers inviting 27,000 residents to portray Indians fans at the baseball stadium there. Grant Moninger, programmer for American Cinematheque and moderator of the “Major League” Q&A, asked Bernsen what it was like to play baseball in front of all those people.

Corbin Bernsen: The night that all those people were there was just one of the most exciting times in my life. You’re wearing the real uniform on a real field, and you’re playing it. I was a pretty good fielder in my day but I wasn’t much of a hitter. That last setup where I get the single and then Dennis (Haysbert) comes in and hits the home run to get me on base, I remember David saying, “I need you to hit the ball somewhere in left field preferably between shortstop and 2nd base.” And I’m thinking, you’re gonna be lucky if I just hit the ball man! I’m not a hitter. But he wants it directly there and it’s got to be a line drive at a certain height and all that. I kept thinking he’s going to fire me because I can’t do this, and the balls are coming in and I kept swinging and missing and swinging and missing and I finally, with all these people there, connect with one and the ball takes off and this fucker is flying to the wall! I’m standing there and I see David and he’s saying “RUN! RUN! RUN!”

Bernsen went on to say he still sees a lot of stuff on the internet about “Major League” which say “great movie, one of the best baseball movies, but Corbin Bernsen sucks and he can’t play baseball.” He ended up getting a hold of some guy from Philadelphia who had been dissing him and told the guy, “Hey! I’m not supposed to be able to play baseball in the movie you a-hole!” From there, Bernsen even challenged him to a throw off from centerfield every year and told the guy, “I will stand in Philadelphia on your field on the warning track and I will throw a fucking line drive to second base a-hole and then you shut up!” That guy from Philadelphia never took Bernsen up on this challenge.

To our surprise, it turns out Bernsen was actually not the original choice to play Roger Dorn in “Major League,” and he only got the part after the actor cast before him, whose name he couldn’t remember, ended up dropping out. Getting cast, Bernsen said, was one of the luckiest things which ever happened to him, and he was thrilled to be in it. He also made clear why he feels the movie holds up so well, and it is because of Ward’s excellent script.

CB: When you read a solid script, that’s like a blueprint that’s just gold. I would urge everyone, if you’re interested in film, to read the script for “Major League.” Everything that’s supposed to happen in a story happens on the exact page it’s supposed to happen on. Yeah, it’s a funny little comedy baseball movie, but I just think it’s one of the most solid scripts that I have ever read. Clean, lean and to the point. That’s all David Ward.

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Tom Berenger Reflects on the Making of ‘Major League’

Major League Tom Berenger

WRITER’S NOTE: This article was originally written in 2012 when this screening took place.

Among the guests at a recent reunion screening of “Major League” at the Aero Theatre was actor Tom Berenger who played veteran baseball catcher Jake Taylor. It is still one of Berenger’s best known roles as we watch his character go through another baseball season which may very well be his last while trying to win back his ex-girlfriend Lynn Wells (Renee Russo in her film debut). And like his fellow co-stars, Berenger proved to the filmmakers he could play baseball.

Berenger did have some experience playing little league when he was growing up, and he played some more ball after that but never professionally. “Major League’s” writer and director, David S. Ward, also said “you could watch Tom swing a bat and you could tell he could play baseball.” Berenger said he played on third base and left field, but “Major League” had him taking the catcher position for the first time ever. What made the difference in preparing for this role was who he had to work with.

Tom Berenger: I had a great teacher which was (Steve) Yeager who had been a catcher for the Dodgers. Besides being a great player, he was also a great teacher which is important, and he worked with Charlie (Sheen) and I and we started probably six weeks before the other guys came in.

Berenger even talked about how he got Yeager and some of the cast to come back to his hometown in South Carolina so they could practice there. His thought was that practicing at Pepperdine University near Malibu with the “dry air” and “breeze coming off of the ocean” was “a little deceiving” as real ballplayers deal with more humid conditions.

TB: We raised a little team so we could do infield practice and drills and things like that, and it was all these guys who were on softball leagues that had once played baseball. They loved it. It was great. I had a friend that was head of maintenance for the public schools, and he got us a field at one of the high schools that was totally blocked off. It was just screened by Palmetto trees, Live Oaks and stuff. He gave us the key to the gate to get in and he brought all his equipment out there and he recut the field, he redid the mound, he gave us a pitching machine so I could practice pop-ups and we could do batting practice.

Berenger said this worked out great for everyone there because they all were forced to deal with humidity, and it was this same humidity which the cast and crew faced in Milwaukee, Wisconsin where “Major League” was filmed. The movie was shot in 1988 during the hottest summer in Wisconsin since 1938, and he remembered it being brutal to work during the day as a result. While the training done in South Carolina certainly prepared many for day shooting, Berenger looked more forward to working nights when it was cooler.

Watching the movie again had Berenger getting nostalgic for the old Cleveland as it appears in the movie’s opening credits, and it is one of the few parts of the movie which was actually shot there.

TB: I’m looking at it and I’m going wow, look at that industrial town. That’s what we used to be. And that makes me a little sad, you know? Chicago and Cleveland and Pittsburgh and Bethlehem and Allentown; all those towns were like that and they’re not there anymore, and I find that really sad because I think they were the backbone of this country.

“Major League” still holds a place in all our hearts thanks to its humor and deeply felt moments which have stayed with us long after the end credits are done. Even Berenger admitted the movie still has a profound effect on him more than 20 years after its release.

TB: I have to say that I just love this film. I cry at the end every time I watch it. It’s a comedy but it’s got so much heart and great writing and direction.

Renny Harlin and Steven E. de Souza Look Back at ‘Die Hard’ & ‘Die Hard 2’

Die Hard poster

Steven E. de Souza and Renny Harlin dropped by the Egyptian Theatre in Hollywood back in 2009 to talk about the making of “Die Hard” and “Die Hard 2.” Both films introduced us to modern action hero John McClane, a man more real and human than the muscular superheroes played by Arnold Schwarzenegger and Sylvester Stallone. They also inspired a most popular concept in movies; the lone warrior fighting overwhelmingly bad odds. The audience at the Egyptian clearly had seen both these movies hundreds of times, but seeing them on the big screen made them seem more exciting than ever.

In talking about the genesis of “Die Hard,” de Souza said it was based on Roderick Thorp’s novel “Nothing Lasts Forever.” The filmmakers followed the book closely, but there were differences: John McClane was older and visiting his daughter, not his wife. Also, Al Powell (played by Reginald VelJohnson) was originally a cab driver, but the character was turned into a cop as the CB radio craze had long since ended. The writers also dropped the ticking time bomb as well. De Souza also explained in writing the screenplay how he made Hans Gruber the protagonist and John McClane the antagonist. Basically, while Gruber is dragging out time, McClane is busy trying to foil his plans.

In casting “Die Hard,” de Souza admitted Bruce Willis, best known back then for starring on the television series “Moonlighting,” was not the first choice. Frank Sinatra had first dibs as “Nothing Lasts Forever” was a sequel to his movie “The Detective,” but he felt he was too old to play the part. Offers were made to Sylvester Stallone, Arnold Schwarzenegger, James Caan and even Richard Gere, all of whom turned the role down as they found McClane to be too passive.

Die Hard 2 poster

The conversation moved on to “Die Hard 2” which de Souza said 20th Century Fox decided to move forward with a week after the original opened. Harlin said he had just finished making “A Nightmare On Elm Street 4,” one of that franchise’s biggest hits. This led to him getting many offers as the thinking is studios proclaim you a genius when you have a hit movie. Harlin said he still doesn’t understand the thinking behind this. 20th Century Fox had offered him “The Adventures of Ford Fairlane” and gave Harlin total freedom in filming a movie which featured, as he put it, “girls in bikinis.” The studio bosses liked what they saw and gave him “Die Hard 2” to direct, and Harlin began shooting it two weeks after “Ford Fairlane” wrapped.

Harlin remembered “Die Hard 2” as being so hard to make and that even Joel Silver came to admit he put too much on his plate. As nervous and excited as he was about doing it, Harlin bemoaned his misfortune at shooting during what he called “least snowy winter ever.” He and the production team looked everywhere for snow and couldn’t even find any in Colorado or Montana. In Spokane, Washington, they finally lucked out with lots of snow and were set to start filming, but a sudden heat wave melted it all on the very next day.

Both Harlin and de Souza said they saw “Die Hard 2” as a comedy which makes sense when McClane says, “How can the same thing happen to the same guy twice?” Bruce Willis, however, didn’t see it as a comedy and initially refused to say the “yippee kay yay” line again since he already did in the first film. Harlin said Silver eventually convinced Willis to do a take his way and then another take Harlin’s way. Indeed, it works well as a comedy as McClane’s bad luck is impossible to ignore. Harlin did however credit Willis for the “just the fax ma’am” line.

Thanks to de Souza and Harlin for dropping by. Seeing “Die Hard” and “Die Hard 2” on the silver screen was a great treat. After all these years, they remain exhilarating action movies to watch.

 

Savage Steve Holland Revisits ‘Better Off Dead’ and ‘One Crazy Summer’ at the Aero Theatre

Better Off Dead poster

The Aero Theatre in Santa Monica was sold out yet again when director Savage Steve Holland was there to talk about his two 1980’s comedies “Better Off Dead” and “One Crazy Summer” back in June 2008. But the big attraction of the evening was “Better Off Dead” as it still has a huge cult following 30 years after its release. Like many movies from our youth, it was a box office flop and got eviscerated by critics. Siskel and Ebert gave it two thumbs down, and Peter Travers tore it apart limb from limb, but it eventually found its audience on video, cable, DVD and Blu-ray. These days, you would be hard pressed to find anyone who hasn’t watched “Better Off Dead,” and everyone who has seen it loves it.

“Better Off Dead” follows Lane Meyer (John Cusack), a teenager with an obsession for skiing and an even bigger obsession for his girlfriend Beth (Amanda Wyss). But soon after the movie begins, Beth dumps Lane for the captain of the ski team, and this leaves him utterly devastated to where he tries to kill himself in order to get her attention. Throughout, he is forced to deal with a crazed paperboy who wants his two dollars, his mother’s bizarre ways of cooking food, his dad’s insistence on doing something about his Camaro which remains immobile on the front lawn, his kid brother who reads books on how to pick up “trashy woman,” and a lovely foreign exchange student who has the misfortune of staying with the dork heads, ahem, the Smiths next door.

After “Better Off Dead” ended, Holland came to the stage and was greeted with thunderous applause. Dressed in jeans, a white buttoned-down shirt and wearing a green baseball cap, he was so happy to see all these people who came out to see this movie which he made long ago. Along with Holland was Diane Franklin who played the French exchange student Monique, and Curtis Armstrong who plays Lane’s best friend Charles de Mar.

Holland said “Better Off Dead” was inspired by his own life experiences, particularly the one where a girlfriend dumped him for somebody else. One scene has Lane tying an extension cord around his neck in the garage, and Holland said he did the same thing and had attached the cord to a pole while standing on a plastic garbage can. Holland said he became terrified and couldn’t go through with it, and then the lid of the garbage can suddenly broke and he fell right into it. Then the pipe above him broke, water came out and he almost drowned as a result. His mother came into the garage to see what was going on, and she ended up yelling at him for breaking the pipe.

“Better Off Dead” did so well in test screenings to where Warner Brothers gave Holland even more money to make “One Crazy Summer.” The studio executives were so convinced they had a big hit on their hands, and they wanted to work with him again on his next movie. Unfortunately, “Better Off Dead” failed at the box office and, while he did get the opportunity to make “One Crazy Summer,” Holland said he was quickly consigned to what he called “movie hell.” This is the place you go to when your movie doesn’t have a big opening weekend, and all those friends you thought you had in Hollywood stop calling you as a result.

one_crazy_summer_xlg

One fan asked Holland what the difference was between making “Better Off Dead” and “One Crazy Summer.” With “Better Off Dead,” Holland said he had total creative freedom to where no one was looking over his shoulder, and this made it the best filmmaking experience he has ever had. With “One Crazy Summer,” it was very different because there was more money involved, and studio executives were on set watching his every move. A lot of this was due to their initial response following the first “Better Off Dead” screening as they came out of it horrified, thinking it was a sequel to John Water’s “Pink Flamingos.”

Franklin, as it turns out, is not French. She said her father is in fact German, so this may account for her looking like she is from another country. As for her French accent, Franklin said she took French classes in high school and became very good at speaking the language, and the accent came to her easily as a result. When she came in to read for “Better Off Dead,” Franklin was actually up for the roles of Beth and Monique. Franklin said making this movie remains the best experience she has had as an actress, and she remarked how Holland created a fun and comfortable atmosphere for everyone to work in. She also confirmed it was indeed a woman who did her skiing sequences in the movie and not a man as many assumed. Holland did say, however, that her stunt double looked almost exactly like her, and the only thing separating them was the stunt double’s tan.

Also up for the role of Monique was Elizabeth Daily who sang the movie’s title track at the school dance. But in the end, it was determined Daily was just “too hot” for the role.

Armstrong came up with some of the most memorable aspects of Charles de Mar. The scene where the ski captain asks Beth what her name is and Charles replies, mistakenly thinking he the one being talked to, was Armstrong’s idea. He also came up with the top hat Charles wears throughout the movie, saying it was inspired by his love for The Beatles and, in particular, George Harrison. It was also his idea to bring along the jar with the dead pig in it to school. However, Armstrong said he could not take credit for this famous piece of dialogue: “I have been going to this high school for seven and a half years. I’m no dummy.”

Armstrong also brought up a brief conversation he had with Kim Darby who played Lane’s mom. At one point during a break from filming, Darby came up to Armstrong, took him by the shoulders and said, “Watch out! They’re trying to destroy you!” After that, she never spoke to him again.

Holland also discussed some of the movie’s deleted scenes, and among them was one which showed how Lane’s mother belonged to the cult of Gumby and was collecting money for it at the airport. Other deleted scenes included Lane’s father (played by David Ogden Stiers) coming home to find his wife vacuuming the lawn, Lane trying to practice the theme song to “Flipper” on his saxophone, and there is a seal there which ends up applauding another person who ends up performing it better than him. Also, the scene of the paperboy falling off the cliff actually lasted a lot longer as Holland had about three minutes of it on film, but test audiences had a very sickened reaction to it, and it got shortened as a result.

If there was one thing which dampened the mood for “Better Off Dead” fans, it is the fact Cusack hates the movie. Holland said he got along great with Cusack while making “Better off Dead,” and he really wanted Cusack to like it as much as he did. Before they began shooting “One Crazy Summer,” Holland got the cast members to hang out with each other in Cape Cod so they could become comfortable with one another. While there, someone was presenting a screening of “Better Off Dead” which they all went to. Twenty or so minutes into it, Cusack walked out. Holland figured Cusack had to take a call or something, but the actor never returned. Holland later caught up with Cusack who told him he thought the movie was horrible and that he no longer trusted him as a director. Suffice to say, this really brought the audience at the Aero Theatre down.

Someone else asked how Rupert Hine came to score “Better Off Dead.” One of the companies involved in the movie’s making was A&M Records which had worked on soundtracks for other films like “The Breakfast Club.” Hine was a featured performer on that soundtrack but had never actually done a film score before. “Better Off Dead” was his first effort as a film composer, and the resulting soundtrack release for the movie is indeed awesome.

This evening was a lot of fun for everyone involved, and it says a lot about “Better Off Dead” that it remains so popular decades after its release. One fan proudly proclaimed it as being “bar none, the greatest movie ever made.” Such a fan this guy was, he got Holland to sign an authentic air filter for a 1967 Camaro, just like the one featured in the movie. Along with that, he also had the original vinyl release of the soundtrack as well as the movie’s original script.

“Better Off Dead” is truly one of the most entertaining comedies to come out of the 1980’s, and it is a movie Cusack really should be proud of. What else can you say about a movie in which Steven Williams utters one of the most famous lines in cinema history?

“Now that’s a real shame when folks be throwing away a perfectly good white boy like that.”

The article’s over… You can go home now.

 

Beyond Fest Returns with a Vengeance to Hollywood

Beyond Fest 2017 Poster Art JPG

The most popular genre film festival in the United States, Beyond Fest, is finally back in Hollywood, and movie fans could not be more excited. Starting on September 29th and going through October 10th, Beyond Fest will be reveling in cinematic madness at the Egyptian Theatre in Hollywood with screenings of classic movies and West Coast premieres of new ones, so you can expect a great 12 days of wonderful mayhem featuring special guests and restored versions of movies which were always meant to be seen on the silver screen. Co-produced by Shudder, the festival aims to raise funds for the non-profit American Cinematheque.

Among the most anticipated events this year will be Dario Argento’s “Suspiria” which will be presented in both its 4K restoration and its 35mm Italian cut. Argento will be making an appearance for this along with Udo Kier and Barbara Magnolfi. Arnold Schwarzenegger will also be on hand for the 30th anniversary of two of his most famous films, “Predator” and “The Running Man.” Two of horror’s greatest directors who passed away this year, George Romero and Tobe Hooper, will be honored with screenings of their most famous movies, “Night of the Living Dead” and “The Texas Chainsaw Massacre.”

As for those new movies making their premiere at the festival, they include “Brawl in Cell Block 99” directed by S. Craig Zahler and starring Vince Vaughn, “The Killing of a Sacred Deer” which is Yorgos Lanthimos’ follow-up to “The Lobster,” and the first couple of episodes of the Amazon Prime series “Jean-Claude Van Johnson” which, of course, stars Jean-Claude Van Damme, the Muscles from Brussels.

Tickets are now available through American Cinematheque and Fandango, and you can keep up with the festival’s latest developments on Facebook, Twitter, and their website.

Here are the movies being shown at Beyond Fest 2017:

BABY DRIVER

Director: Edgar Wright

Country: USA

Runtime: 102 min.

Year: 2017

GUESTS: Edgar Wright & Walter Hill in Person

 

BAD BLACK (free screening)

West Coast Premiere

Director: Isaac Nawibana

Country: Uganda

Runtime: 60 minutes / Year: 2016

 

BATMAN: MASK OF THE PHANTASM

Directors: Bruce Timm, Eric Radomski

Country: USA

Runtime: 76 min.

Year: 1993

GUESTS: Andrea Romano plus voice actors TBA in Person

 

BEST F(R)IENDS

World Premiere

Director: Justin MacGregor

Country: USA

Runtime: 95 min.

Year: 2017

GUESTS: Tommy Wiseau, Greg Sestero and Justin Macgregor in Person

 

BRAWL IN CELL BLOCK 99

West Coast Premiere

Director: S. Craig Zahler

Country: USA

Runtime: 132 min.

Year: 2017

GUESTS: S. Craig Zahler, Vince Vaughn and Udo Kier in Person

 

DOUBLE IMPACT

Director: Sheldon Lettich

Country: USA

Runtime: 110 min.

Year: 1991 / 35mm

GUEST: Jean-Claude Van Damme and Sheldon Lettich in Person

 

THE DRIVER

Director: Walter Hill

Country: USA

Runtime: 90 min.

Year: 1978 / 35mm

GUESTS: Edgar Wright & Walter Hill in Person

 

HELLRAISER

Co-presented with Death Waltz Records + Friday Night Frights

Director: Clive Barker

Country: USA

Runtime: 94 min.

Year: 1987 / 35mm

 

ICHI THE KILLER – Digital Restoration

West Coast Premiere

Director: Takashi Miike

Country: Japan

Runtime: 129 min.

Year: 2001

 

HOWARD THE DUCK – 70mm

Director: Willard Huyck

Country: USA

Runtime: 110 min.

Year: 1986

GUESTS: Lea Thompson in Person

 

JEAN-CLAUDE VAN JOHNSON – Episodes 1 & 2

Presented by Amazon

World Premiere

Director: Peter Atencio

Country: USA

Runtime: 60 min.

Year: 2016

GUESTS: Jean-Claude Van Damme, Peter Atencio, Dave Callaham, Kat Foster, Moises Arias.

 

THE KILLING OF A SACRED DEER

West Coast Premiere

Director: Yorgos Lanthimos

Country: UK, Ireland

Runtime: 109 min.

Year: 2017

 

MAYHEM

West Coast Premiere

Director: Joe Lynch

Country: USA

Runtime: 86 min.

Year: 2017

GUESTS: Joe Lynch and cast in person

 

NAPOLEON DYNAMITE – THE BOOTLEGGED EDITION

Theatrical Premiere

Director: Jared Hess

Country: USA

Runtime: 96 min.

Year: 2004

GUESTS: Cast and crew in person

 

NIGHT OF THE LIVING DEAD – 4K Restoration

West Coast Premiere

Director: George A. Romero

Country: USA

Runtime: 96 min.

Year: 1968

GUESTS: Mick Garris & Masters of Horror in Person

 

OPERA (aka TERROR AT THE OPERA)

Director: Dario Argento

Country: Italy

Runtime: 100 min.

Year: 1987

GUESTS: Dario Argento in Person

 

PHANTOM OF THE PARADISE

Co-presented with Creature Features

Director: Brian De Palma

Country: USA

Runtime: 92 min.

Year: 1974

GUESTS: Paul Williams in Person

 

PREDATOR

Director: John McTiernan

Country: USA

Runtime: 107 min.

Year: 1987 / 35mm

GUESTS: Arnold Schwarzenegger in Person

 

RAWHEAD REX 4K Restoration

Co presented with Cinematic Void and Friday Night Frights

West Coast Premiere

Director: George Pavlou

Country: USA

Runtime: 89 min.

Year: 1986

 

THE ROOM

Director: Tommy Wiseau

Country: USA

Runtime: 99 min.

Year: 2003

GUESTS: Tommy Wiseau, Greg Sestero and Guests in Person

 

THE RUNNING MAN

Director: Paul Michael Glaser

Country: USA

Runtime: 101 min.

Year: 1987 / 35mm

GUESTS: Arnold Schwarzenegger in Person

 

SUSPIRIA – 4K Restoration

Los Angeles Premiere

Director: Dario Argento

Country: Italy

Runtime: 100 min.

Year: 1977

GUESTS: Dario Argento, Udo Kier, Barbara Magnolfi in Person

 

SUSPIRIA – 35mm Italian Cut

Los Angeles Premiere

Director: Dario Argento

Country: Italy

Runtime: 98 min.

Year: 1977

GUESTS: Dario Argento and Barbara Magnolfi in Person

 

THE TEXAS CHAINSAW MASSACRE

Director: Tobe Hooper

Country: USA

Runtime: 83 min.

Year: 1974

35mm

GUESTS: Mick Garris & Masters of Horror in Person

 

SHUDDER THEATRE (at Egyptian Theatre)

78/52 (Free Screening)

West Coast Premiere

Director: Alexandre O. Philippe

Country: USA

Runtime: 91 min.

Year: 2017

 

BEFORE WE VANISH (Free Screening)

West Coast Premiere

Director: Kiyoshi Kurosawa

Country: Japan

Runtime: 129 min.

Year: 2017

 

BETTER WATCH OUT (Free Screening)

West Coast Premiere

Director: Chris Peckover

Country: Australia, USA

Runtime: 85 min.

Year: 2016

 

COLD HELL (Free Screening)

West Coast Premiere

Director: Stefan Ruzowitzky

Country: Austria

Runtime: 92 min.

Year: 2017

 

THE GRAPES OF DEATH AKA Les Raisins de La Mort (Free Screening)

Director: Jean Rollin

Country: France

Runtime: 90 min.

Year: 1978

 

HAUNTERS: THE ART OF THE SCARE (Free Screening)

West Coast Premiere

Director: Jon Schnitzer

Country: USA

Runtime: 88 min.

Year: 2017

 

JAILBREAK (Free Screening)

West Coast Premiere

Director: Jimmy Henderson

Country: Cambodia

Runtime: 92 min.

Year: 2017

 

LES AFFAMES (Free Screening)

West Coast Premiere

Director: Robin Aubert

Country: Canada

Runtime: 100 min.

Year: 2017

 

MOHAWK (Free Screening)

West Coast Premiere

Director: Ted Geoghegan

Country: USA

Runtime: 91 min.

Year: 2017

 

MY FRIEND DAHMER (Free Screening)

West Coast Premiere

Director: Marc Meyers

Country: USA

Runtime: 107 min.

Year: 2017

 

REVENGE (Free Screening)

West Coast Premiere

Director:  Coralie Fargeat

Country:   France

Runtime:  108 min

Year:  2017

 

SEQUENCE BREAK (Free Screening)

West Coast Premiere

Director:  Graham Skipper

Country:   USA

Runtime:  108 min

Year:  2017

GUESTS: Graham Skipper, Cast and Crew in Person

 

THE SLUMBER PARTY MASSACRE (Free Screening)

Co-presented by Etheria and Cinematic Void

Director: Amy Holden Jones

Country: USA

Runtime: 77 min.

Year: 1982

GUESTS: Amy Holden Jones in Person

Double Feature with SLUMBER PARTY MASSACRE II

 

THE SLUMBER PARTY MASSACRE II

Co-presented by Etheria and Cinematic Void

Director: Deborah Brock

Country: USA

Runtime: 77 min.

Year: 1987

GUESTS: Deborah Brock in Person

Double Feature with SLUMBER PARTY MASSACRE

William Friedkin and Guests on Making ‘To Live and Die in L.A.’

To Live and Die in LA

Director William Friedkin declared “To Live and Die in L.A.” to be one of his personal favorites of his career when he dropped by the Aero Theatre in Santa Monica. The film was being shown as part of American Cinematheque’s tribute to him, and it played as a double feature with “The French Connection.” But while Friedkin was scheduled to be there, he brought along two of the movie’s stars as surprise guests: William Petersen who played Secret Service Agent Richard Chance, and Darlanne Fluegel who portrayed his “girlfriend” and informant Ruth Lanier.

With “To Live and Die in L.A.,“ Friedkin worked with casting director Bob Weiner who had also worked on “The French Connection.” With this film, Friedkin didn’t want any stars and could only consider no-name actors as the budget was only $6 million. In a sense though, casting unknown actors was a plus for this film as the characters they play walk a thin line between good and evil, and having recognizable stars might affect how this came across.

Known these days for “C.S.I.,” it was a shock to realize that “To Live and Die in L.A.” was Petersen’s first lead role in a movie (he previously had a small role in Michael Mann’s “Thief“). Weiner discovered the actor when he was playing the lead in a Canadian production of “A Streetcar Named Desire.” Petersen said he hadn’t done any movies nor did he have an agent at the time. All he knew about Friedkin was the films he directed, and they met in New York to do a scene together. But Petersen didn’t ever get around to finishing when Friedkin interrupted him to say, “That’s good enough for me. You got the part!”

From there, Petersen said he didn’t know what to do. Excited as he was for the opportunity, he was already scheduled to be in another play soon and wasn’t sure how to go about negotiating with Friedkin or the studio. It didn’t even occur to him he would be making $400 a week! So, he ended up talking with John Malkovich, who knew him from Steppenwolf, to get advice on what to do. Later, Petersen went back to Friedkin saying he wouldn’t be able to play Richard Chance due to his prior theatrical commitment. To this, Friedkin told him, “No problem. We’ll wait for you.”

Now how cool was that?! Seriously, how many other directors, let alone movie studios, would wait on an actor who is not even an established name yet? Considering the sheer charisma Petersen exudes onscreen just from one look on his face, it makes perfect sense why Friedkin waited on him before he started production.

Although he was used to doing theater more than film, Petersen said he found making “To Live and Die in L.A.” a “freeing, fun experience” and thought all movies would be exactly like it. This, of course, got a good dose of laughter from the audience as we know they are not. Despite the long hours on set, Petersen was never tired at day’s end.

In researching his role, Petersen worked with Gerald Petievich, the former Secret Service Agent who wrote the book this movie is based on, and with criminals including actual counterfeiters. This led Friedkin to tell the audience how Petievich ended up getting a counterfeiter paroled from jail just so he could create the fake money they needed. Friedkin even admitted he passed so many fake bills to where he concluded the government’s money was worthless and only paper. Some kids of the special effects supervisor were not as lucky as they ended up taking some of the fake money to buy candy, and a Treasury Agent got called on them in ten minutes flat.

Fluegel was shocked about getting a part in “To Live and Die In LA,” and she created one of the film’s most unforgettable characters. She said working with Petersen was “so easy,” and they both agreed there never was a moment between them which didn’t feel real. We always hear these stories about how actors don’t like doing sex scenes and how awkward they can get, but Fluegel said they were actually easy to do. She also made it clear neither of them actually had sex onscreen even though it looked like they did. When they worked together, everything always flowed perfectly.

But one great behind the scenes story Petersen told was when they were at the airport and Chance was chasing down John Turturro’s character of Carl Cody. This had Petersen jumping on top of the moving walkway while in pursuit, but in rehearsing it, security came over and told him and Friedkin it was against safety regulations and didn’t want him to do that again. Petersen, however, was insistent as it was easier for him to jump on top, and it worked better for the scene. So, when security was out of hearing range, Friedkin told Petersen to jump on top anyway when he said action, and that after he said cut, Friedkin would yell at him not do it again, making it look like he didn’t forget what security said previously. Once again, Friedkin does movies his way regardless of the warnings others throw at him.

Like several of William Friedkin’s movies which came out after his heyday with “The French Connection” and “The Exorcist,” “To Live and Die in L.A.” was not a big hit when first released. It was only after its debut on video and DVD when it gained a cult following which has gotten bigger and bigger over time. Seeing it on the big screen was a blast, and it deserves to be ranked alongside the best movies of Friedkin’s career. Besides, this is much more preferable to watching him pick his feet in Poughkeepsie.

John Carpenter Looks Back at ‘Escape From New York’ and ‘Escape From LA’

John Carpenter Escape From New York photo

“Escape Artist: A Tribute to John Carpenter” continued with the exploits of Snake Plissken in the double feature of “Escape From New York” and “Escape from LA” at the Aero Theater in Santa Monica. These films featured some of the collaborations between Carpenter and Kurt Russell who first worked together on “Elvis.” They quickly became great friends and went on to work together on several other films including these two and “Big Trouble in Little China.”

The emcee warned us that the print of “Escape From New York” was pretty faded as it was an original print and the only one American Cinematheque could get their hands on. This was being generous as it looked like it had been slaughtered by countless film projectors, and the color was faded to where everything looked pink. It is astonishing it didn’t break apart in the projector. Still, the fans still enjoyed watching the film, one which they have seen hundreds of times before. They laughed when “1997 NOW” came up and when Lee Van Cleef speaks into this enormous cell phone no one would have today, let alone in 1997.

After “Escape From New York” ended, Carpenter came to the stage and was greeted with another thunderous standing ovation. Carpenter quickly acknowledged the crowd by saying, “Thank you for coming out to see the movie tonight, but I got to tell you this is the worst fucking print. My fucking God! There’s no color in it!” The audience laughed loudly as they were in complete agreement.

Escape from New York poster

The discussion started off with a question about the genesis of the project. Carpenter talked about writing the script back in the early 1970’s when there was a great sense of cynicism in America about our President and in response to the hostage crisis in Iran. He also admitted he was inspired by two of his favorite movies back then, “Dirty Harry” and “Death Wish.” Those two movies involved men driven to the brink emotionally and who took it upon themselves to wreak vengeance on those who wronged them. Like those characters, Snake Plissken gets the job done, and this brought a lot of satisfaction to audiences as nobody in the real world seemed to be accomplishing anything.

Carpenter said he initially wanted Clint Eastwood to play Snake Plissken. For one reason or another, it did not work out. He also said he had shopped this screenplay around to several studios which rejected it outright, but fortunately he had a multiple picture deal with Avco Embassy which had produced “The Fog.” Ironically, they wanted Charles Bronson for the title role. Somehow, everything came together when Russell got cast as Snake Plissken, and he portrayed the character as an asexual human being who cares about nothing more than staying alive. In the process, he created one of the most memorable anti-heroes ever seen in a movie.

Carpenter also talked about Lee Van Cleef, a favorite actor of his from Sergio Leone westerns, who played Police Commissioner Bob Hauk. Lee had seriously injured his knee during the filming of another movie and had never gotten it fixed, and as a result he was in constant pain while making “Escape from New York.”

With a budget of only $5 million dollars, “Escape From New York” needed to be filmed as quickly as possible. Carpenter said the rule of low budget filmmaking was to shoot as little film as possible and to make it as long as you can. In fact, there is actually only one real shot of New York in the entire movie which features the Statue of Liberty, and it pans from there and dissolves into a set in Los Angeles. A lot of what you see of New York in the movie are actually models and matte paintings done by artists from Roger Corman’s New World Pictures, among them James Cameron. Much of the movie was filmed in downtown St. Louis which had had a huge fire that destroyed several city blocks. The city let Carpenter and his crew film there in triple digit temperatures, and they even shut the power down for them when they filmed at night.

Escape from LA movie poster

When it came to making “Escape from LA,” Carpenter had a budget of around $50 million to work with. But while he and Russell had more time and money, Carpenter said he had the hardest time writing the screenplay for it because he felt that everything he was writing was “bullshit.” What got him to revisit Snake Plissken was that Russell was so keen on playing the character again, and they solved their script problem by moving the action to Los Angeles which was in a constant state of denial with all the earthquakes and natural disasters occurring there. They simply took the same scenario of the original movie and updated it to reflect the current state of the city while filming.

“Escape From New York” may have had only one real New York shot in the entire movie, but all of “Escape from LA” was filmed in Los Angeles. The sequel was shot over a period of one hundred and three nights, and Carpenter said he found filming at night to be very “soul draining” as it changes the way you see things and the darkness infects you in a very unhealthy way.

One audience member brought up how at one point it looked like Carpenter and Russell might do a third movie called, “Escape from Earth.” This never panned out because “Escape from LA” unfortunately bombed at the box office. There was also supposed to be a video game based on the movies, but the company involved with it ended up going back to the past by resurrecting Pac-Man. There was even talk of a television series which would act as a prequel to the movies and even an anime movie chronicling the further adventures of Snake Plissken, but neither of those projects became a reality. Despite the box office failure of “Escape from LA,” there are still many people out there who are intent on continuing the exploits of their favorite antihero.

These days, Carpenter said he is content to sit at home and watch the NBA Finals or play video games. He told the audience he had just finished playing “Ninja Gaiden 2” and would be moving on to “Metal Gear Solid 4” next. It doesn’t seem like he is in a big hurry to make another movie, but this could change if the studios pay him a lot of money. Carpenter feels the movie business keeps changing on him, and he does not appear to be as enthusiastic about making films as he once was.

Carpenter closed out the evening by saying he had to go meet with his drug dealer. Before he left, the moderator gave him a gift saying Carpenter had given so much to us that he wanted to give something back. This something was the “Escape from New York” board game which is, apparently, the most complicated board game ever.

After the discussion ended, he did take some time outside the theater to sign autographs and pose for pictures with fans who still see him as a big inspiration. If you look at movies of recent years, you will see Carpenter’s influence over many of them both in their visuals and the music. To this day, he remains one of the important directors of the sci-fi and horror genre, and his cult following remains as strong as ever.

As the evening wore on, many came back inside to watch “Escape from LA.” The print was in much better condition, but this didn’t stop it from breaking down during the movie’s last seconds. For those who know how this sequel ends, it only seemed comically appropriate as Snake shut down… Well, you know.

John Carpenter Revisits ‘The Thing’ at the Aero Theatre

John Carpenter Dummy Magazine photo

“Escape Artist: A Tribute to John Carpenter” was held a few years ago by American Cinematheque at the Aero Theater. In addition to being treated to a double feature of “The Thing,” which is widely regarded as his best film, and “The Fog,” the writer, director and composer also showed up in between both films to give us more insight on their making and took questions from the audience. Even though these movies are now twenty to thirty years old, they still resonate deeply for movie fans today. This was proven true by the fact these screenings were sold out and packed with Carpenter’s biggest fans.

While “The Thing” was not a big hit upon its release, it has since developed a huge cult following and been critically re-evaluated as the masterpiece it always was. Eighty percent of the audience had probably seen this movie several dozen times, but they still jumped during its most shocking moments.

The Thing movie poster

After the movie ended, Carpenter came to the stage and was met with a standing ovation and thunderous applause. He thanked them for coming on out to see this movie when they could have just watched it at home. One fan in turn thanked him for coming on out to visit with us as he has millions of fans all over the world, and yet he chose to hang out with us.

Today, as the emcee pointed out, many are surprised “The Thing” was not a big hit when released back in 1982. Carpenter put it all the more bluntly:

“It tanked! 1982 was supposed to be the summer of love. It was the summer of ‘E.T.’ and it was the summer of freedom and hope, and ‘The Thing’ was about as bleak a movie as any that could have been released that year. People hated it for that, and all the sci-fi fans out there absolutely hated it and trashed it when it first came out.”

As Carpenter pointed out to actor and friend Kurt Russell on the movie’s DVD commentary, “We came out two weeks after ‘E.T.’ And while there’s was all warm and cuddly, ours was ugly and hideous.” Universal Pictures, which released both movies that summer, attempted to make it the summer of extra-terrestrials, but the timing did not work at all in Carpenter’s favor and it later cost him the job of directing the Stephen King adaptation, “Firestarter.”

One fan pointed out how “The Thing” was unique in a sense as it is one of the few Carpenter movies he did not compose the score for. While the score does have the Carpenter sound, it was actually composed by Ennio Morricone. Carpenter said Morricone is one of the greatest film composers ever, and he did point out there is one synthesizer piece of music which was not composed by Morricone. Now he wouldn’t say who composed it, but it’s safe to say he did, and in association with Alan Howarth.

Another fan pointed out several of Carpenter’s movies have been remade like “Assault on Precinct 13,” “The Fog” and “Halloween,” and a remake of “Escape From New York” is in the works. This fan said he found remakes blasphemous, and to this Carpenter replied, “I actually find it flattering. They also have to pay me a lot of money when they do that.”

Dean Cundey, director of photography on “The Thing,” worked on several of Carpenter’s movies including “Halloween.” Carpenter has not worked with Cundey for some time now, and one man asked why and if there had been a falling out between them. Carpenter replied they have not fallen out, and he recently caught up with Cundey at a movie shoot in Canada. Carpenter did, however, point out why they haven’t worked together for a while, “Dean wanted to be a director. And when you have a director on a movie, and a director of photography who wants to be a director, that’s just not going to work out.”

Everyone who knows Carpenter knows he is a big fan of westerns, and he recently recorded a commentary track for the special edition release of “Rio Bravo.” Many wonder why he still hasn’t directed a western of his own, and Carpenter replied he honestly didn’t know but that he came close several times. The closest was when he wrote the script for “El Diablo” which was made into a cable movie that earned him a Cable Ace Award. If you look closely, all of his movies do have western elements to them. The closest he has ever gotten to making a western is “Vampires” with James Woods.

Many also wondered, and it was asked, what future projects he has on tap and of what his current passions are. His reply was, “Current passions? I’m playing Ninja Gaiden, I just got Metal Gear Solid 4 for PlayStation 3… No seriously, I have a couple of things I’m looking at doing, so we’ll see what happens.”

Before he left, he did have some things to say about “The Fog,” “I have heard that the print for this movie is not in the greatest shape, and that it is pretty faded. But keep in mind that when we made this movie, we made it for only $1 million dollars, so please be kind.”

George Lazenby on Why He Played James Bond Only Once

George Lazenby as James Bond

More than 40 years after “On Her Majesty’s Secret Service” was released, George Lazenby still has the dubious distinction of having the shortest tenure as James Bond. To many, he’s the joke of the franchise and referred to by others as “the one that failed.” Whether or not you agree with this, everyone still wonders why he ended up starring in only one 007 movie. Did critics rip his performance to shreds in the press to where it was too painful to continue? Did he have other plans? Well, he told a sold-out audience at the Egyptian Theatre in Hollywood why his tenure as Bond lasted only for a single film.

Lazenby said he does and doesn’t regret doing more Bond movies and that, after all these years, he still doesn’t know why he got the part. The producers did, in fact, want him to play Bond again and even offered him a contract to do several more. The 70’s, however, were just around the corner (“On Her Majesty’s Secret Service” was released in 1969), a time of long hair and bell bottoms, and his agent informed him the Bond franchise would not last beyond the 60’s. Although we know this was clearly not the case, Lazenby listened to his agent.

Lazenby also admitted he was happier as a model in Paris and didn’t like getting up early in the morning. When the movie was released, he had already grown a beard to hide from the public. But once he became unrecognizable, he had a little trouble getting into the premiere.

The things Lazenby did enjoy included going to fine restaurants whose owners invited him back and said, “The check’s on us.” It also got him instant access to nightclubs where he fearlessly jumped onstage with the dancing girls as if it were perfectly allowable. At one club he even told the head bouncer, “Send the girls to my place for a drink!” Now he didn’t think the bouncer would honor this request, but sure enough, there were 20 girls waiting for him and his buddies at the hotel. The next morning, four of them were still hanging around.

Albert R. Broccoli remarked that had Lazenby done more James Bond films, he would have been seen as the best actor to have portrayed 007. While many still consider him the least of the Bond actors, he still has many fans who considered his performance in “On Her Majesty’s Secret Service” terrific, and he still holds the record for being the only Bond who could perfectly throw his hat onto the hook. To quote a line from the beginning of the movie, “This never happened to the other fellow.”

George Lazenby Reflects on Playing 007 in ‘On Her Majesty’s Secret Service’

On Her Majestys Secret Service movie poster

After all these years, George Lazenby is still the only actor to play James Bond in just one movie, “On Her Majesty’s Secret Service.” While nowhere as respected as Sean Connery or Daniel Craig, Lazenby still has his share of fans who gave him a standing ovation when he appeared at the Egyptian Theatre in Hollywood. The evening’s moderator, Stephen Rubin, proclaimed Lazenby was a “terrific James Bond,” and if he had to do just one Bond movie, he picked the right one to star in.

After five movies, Connery quit playing Bond as he had grown tired of what he described as “impossibly long schedules.” Lazenby was not the first choice to replace Connery as he had no acting experience other than doing commercials, and Lazenby claimed he got considered for Bond when the late Cubby Broccoli spotted him at a haberdashery getting a Connery-like haircut.

Directing this 007 adventure was Peter Hunt who apparently got the job as a Christmas present from the Broccoli family. Lazenby described him as tough and that he got his way most of the time. He also admitted lying to Hunt about being an actor, and when Lazenby later told him he wasn’t, Hunt went crazy and fell down on the floor laughing. Once he composed himself, he told Lazenby, “Stick to your story. I’ll make you the next James Bond!”

The two of them, however, had a falling out on the first day of shooting, and Lazenby said Hunt didn’t speak to him again for nine months. According to Rubin, Hunt’s challenge in getting a performance out of Lazenby was to “piss him off.” Rubin also remarked how tough the last scene must have been for Lazenby as it’s the most emotional in the Bond franchise, and Lazenby said he did one take with tears and that Diana Rigg, who plays Contessa Teresa di Vicenzo in “On Her Majesty’s Secret Service,” bit him to get the desired emotion in another which he said wasn’t needed.

One thing’s for certain, Lazenby’s work in the action sequences was nothing short of excellent. On top of holding several black belts in martial arts, he credited a lot of his toughness from living in Australia where you “smack your mate.” Sounding almost Russell Crowe-ish about his birthplace, Lazenby said he could take care of himself once he got the first hit in, and back then he was too stupid to be afraid.

Regarding his fellow cast mates, Lazenby said Rigg thought he was a “complete idiot,” and she got pissed at him after he beat her in a game of chess. She also didn’t want him mucking around with other girls during filming, a promise Lazenby admitted he was unable to keep. He was discovered having a tryst with a receptionist, and when asked if she was memorable, Lazenby replied, “She was!”

Telly Savalas played Bond’s arch nemesis Ernst Stavro Blofeld, and Lazenby described him as a “great guy who loved to gamble.” When Lazenby got a raise from $100 to $1,000 a week during shooting, Savalas saw his money and asked, “Hey, do you play poker?” Lazenby also said Savalas used to bet everything he had including his house.

Even if Lazenby is still considered the worst actor ever to portray James Bond, it certainly didn’t seem to be the case considering the standing ovation he got upon entering the Egyptian Theatre. He gave us a 007 at his most relaxed in “On Her Majesty’s Secret Service,” and this makes his interpretation of the role the most unique in the long-running franchise.